INT. MEDICAL MARIJUANA DISPENSARY – NIGHT Bored surfer guy has his feet up at the reception desk and flipping through a surfing magazine. Customer Sebastian enters. SEBASTIAN: Hello. This is smoke place, no? SURFER GUY: Hey, man. Yup, this is the right place. Just need your ID and medical card. (Sebastian hands over ID and waits.) SURFER GUY (CONT’D): Great. And your medical card? SEBASTIAN: No. ID. Yes? SURFER GUY: Yes, ID. But in California you need a medical card. (Sebastian stares at him blankly.) SURFER GUY: Like this one. (Surfer Guy holds up medical card.) SURFER GUY (CONT’D): You have to get it from your doctor or a medical clinic. SEBASTIAN: I don’t know. Sorry my English is…um…no good. I want…(imitates weed smoking). SURFER GUY: Yes, you’re in the right place, but I can’t give it to you without a card like this. SEBASTIAN: Sorry, no have. SURFER GUY: You know what. It’s ok. Go to my friend Freddie down the street. He knows lots of foreigners and can help you out. SEBASTIAN: No..(imitates weed smoking)? SURFER GUY: Go see this guy. (Surfer Guy hands Sebastian a business card.) SEBASTIAN: Ok. SURFER GUY: See him and come back with your card. (Sebastian nods and leaves.) SURFER GUY: Man, maybe we need to hire a translator after all. BLACKOUT

Scene 8 INT. DUPHÉ'S TAVERN, NEW ORLEANS – DAY Barkeep JIMMY slides a glass of Dewar's towards ex-DET. SGT. McGINN. McGinn wraps a beefy fist around it and stares at it. As he raises the glass, he looks into the mirror before him, and his eyes fasten on a man walking behind him. He transforms into a cop again and sets the glass down. McGinn pulls out his cell and quickly flips through page after page, keeping an eye on the man, who takes a seat two stools further down. McGinn reaches the man's wanted poster. Below the mugshot: SERGEI RUDNIKOV, RAPE, KIDNAPING, ASSAULT/GBH, CONTACT NOPD. USE EXTREME CAUTION. THREATS ON POLICE. ARMED SUBJECT. Rudnikov is looking in his direction. McGinn's sixth sense alerts him, and he puts the phone to his ear, pretending to make a call. He knows the empty words by heart: McGINN: Yeah, honey, I just stopped for a quick one. I'll be home in a little bit. [beat] Yeah, I promise. [beat] Love you, too. Bye. McGinn puts the phone in his side pocket. Rudnikov is still staring at him. Or is he? A stunning blonde woman slides onto the empty stool between them, brushing McGinn's shoulder with her oversized purse. She notices and pats his arm. BLONDE: Izvenite. McGinn avoids all but the briefest eye contact. McGINN: No problemo. GIRL: (to Rudnikov) Privet, ya Ivana. RUDNIKOV: Menya zovut Sergey. The girl and Rudnikov shake hands, then continue to chat in Russian. McGinn looks her over in the mirror. While Jimmy serves them, McGinn gets eye contact with Ivana again in the mirror for a second. McGINN: (V.O.) Jesus, she's hot. What the hell is she doing with Rudnikov? Is she a business girl? Or an accomplice? RUDNIKOV: ...Ya sobirayus' kakat' Rudnikov rises and goes towards the restrooms near the front door. McGINN: (to girl) How well do you know that man? GIRL: (smiles) Izvinite, ya ne govoryu po-angliyski. (shrugs) McGINN: No English? IVANA: No English. Russian. McGINN: (to self) I wonder if they have wanted posters in Russia. IVANA: Chto? McGinn pulls out his phone and flips the display until the wanted poster is up. He shows it to the girl. She leans in, stares at the picture for a few seconds, then her eyes widen and she looks at McGinn. IVANA: Kakogo cherta! McGINN: That way. He points at the back door, and she dashes towards it. He autodials. McGINN: Roger? McGinn. I got something for you at Duphé's Tavern. I'm two stools away from a perp named Rudnikov. Armed and nasty. I'll send you the mugshot. McGinn punches buttons on the phone, then puts it away. Jimmy approaches. JIMMY: You okay, Mac? You haven't touched your drink. McGINN: I got fired today. Because of this. (points at his whiskey) JIMMY: Sorry, Mac. It happens. Want a doggy bag? McGINN: The guy on that stool is an armed fugitive. (tilts head) Jimmy looks at the empty stool. McGINN: Men's room. JIMMY: What do we do? McGINN: (shrugs) My guys are on the way. You have a gun back there? JIMMY: (shakes his head) Bung starter. McGINN: Then we do nothing. He just got dumped by that blonde he was with. If he goes all apeshit, I'll grab his arms and shove him against the bar. You hit him with the bung starter. Make it count. I doubt you'll get a second shot.

Scene 8 EXT. SONORA DESERT - AFTERNOON Pedro (50) drags his donkey across a long and dusty road. The donkey is burdened with a very heavy load of wood and other household artifacts. A large explosion is suddenly heard. Pedro looks up to the sky only to see a man dressed in a tuxedo gliding down in a parachute and landing flawlessly next to him. The man removes the parachute harness, rearranges his slightly askew bow tie and calmly approaches Pedro. MAN: (Speaking with an educated Scottish accent) Good day to you sir. Allow me to introduce myself. My name is Bond... wait for it... James Bond, and I find myself in somewhat of a... predicament. You see, I was battling various henchmen sent by a ruthless drug baron who is actually part of a criminal conglomerate with intent of controlling the world market of sleeping pills. Long story short, I was able to defeat them and blow up their plane, but not before procuring myself this parachute which allowed me to escape unscathed. However, I now find myself in the middle of this desert without any means of communication and/or transportation. Therefore, I would appreciate it if you could direct me to the nearest town where I may contact MI5 to arrange for my safe transport back to headquarters in London. (a beat) PEDRO: Que? Bond jumps back in surprise. BOND: Oh, dear God! You don't speak English, do you? Pedro speaks with a terrible Mexican accent. PEDRO: English... muy poquito. BOND: Po... poquito? Oh! A little! Well, that'll have to do. Bond comes closer to Pedro and starts to gesticulate profusely mimicking every word he says and speaking very loudly. BOND: ME. BOND. PEDRO: Tu gringo? BOND: Gringo? By heavens, no. ME, BOND. ME SCOTTISH. ME VERY IMPORTANT SPY. PEDRO: Me... Pedro. BOND: Pedro. It's a pleasure making your acquaintance. ME WANT TOWN. Pedro pulls out a pair of working gloves. PEDRO: Ah! Guante? BOND: No, man! Why are you giving me your gloves for? NO GUANTE. WANT. ME LOOKING FOR TOWN. ME GO HOME. Understand HOME? Pedro's face lights up. PEDRO: Home… casa. BOND: YES. Yes. Casa. ME GO CASA. PEDRO: Quiere venir a mi casa? BOND: I think this little man is inviting me to his house. Well, there's bound to be a telephone near... PEDRO: Telefono? BOND: YES! Telephone, yes. Do you have a telephone? DO YOU... TELEPHONE? Ring ring? PEDRO: Momentito. Pedro pulls out a very modern mobile phone from his back pocket. PEDRO: (triunfant) Telefono. Bond jumps for joy. BOND: My dear fellow, you are full of surprises! PEDRO: Quieres el telefono? BOND: Yes. Telefono. Thank you. Bond extends his arm to take the phone but Pedro moves it away. PEDRO: No, no, no. You telefono. You pay. BOND: You want money? Bond takes out a one dollar bill from his pocket. BOND: Here you go, my friend. Pedro laughs. PEDRO: No money. Reloj. BOND: Reloj? Wait. You want my watch? This is a five thousand pound custom-made MI5 calibrated special piece of equipment capable of setting off bombs. I'm not giving you my watch? PEDRO: No reloj, no telefono. Bond reflects for a while. He reluctantly agrees and hands his watch to Pedro. BOND: You drive a hard bargain, my friend. I guess I'll just have to expense this out. Pedro takes the watch and hands over the phone to Bond. The spy quickly makes a call. BOND: (On the phone) Miss Moneypenny, 007 here. I have an extraction request over the Sonora desert. Just triangulate this mobile... Yes, I'll hold... Two hours? I can live with that. Much obliged. Bond hangs up the phone. PEDRO: You come... mi casa. BOND: Thank you. I appreciate it. The pair walks into the sunset, followed by the donkey. BOND: You wouldn't happen to have a young daughter, would you Pedro? FADE OUT

Feedback 8 This scene just about drove me potty - excuse the Englishism, not sure if that's a word or not – if it isn't, it is now, I just invented it. Why? It started when Pedro saw the man gliding down in a tuxedo. You used the word “only” which to be honest, seem to make the arrival of a Tuxedo dressed man by parachute an every day event or at the least, a very casual occurrence. Pedro's introduction though was excellent and it was quite easy to picture as a scene. That first, quite lengthy, paragraph of speech from the man Bond, didn't strike me as Scottish at all, but rather more like the dulcet tones of an English man. Then I thought, would he really have bothered explaining himself so much? After all, he's Bond, James Bond. For me he'd probably have said “Mamma Mia, I'm procuring your donkey.” Though there might have been a smidgeon of Sean in the following lines, but of a Scotch accent there was not a lot. And that last line... BOND: You wouldn’t happen to have a young daughter, would you Pedro? Well, for all mother's of young daughters, you really need to change that line or Bond will be the next one on the stand. Daughter would have been fine... we really don't want to be without a national hero. Still, I will pass compliments on how you put the scene together. I could only hope to have your finesse. This was a very trying challenge.

Scene 8 José walks into a coffee shop in Soho, London. José: Hola. I'm sorre can u help me pleeze? I am... perdido, perdido, como se lo dice? Ah jes... I have... a lost it. Waiter: Where is it you want to go, hen? José: I need the underneath. Jes, the underneath. Waiter: Och aye. Underneath what? Underneath the table? Underneath ma kilt. You ken take your pick, hen. José: Gracias, very kind. I'm sorry, my engleesh is not so good. Waiter: Aye, well, I'd be Scottish, so its probably better than mine. What can I do fer yer? José: I have a café. Waiter: Och do you now. And where would that be? José: In a cup - - Waiter: No, where yi from? Where's your café? José: I donno, ju don't bring it. Waiter: No. Where's yer café? José: I donno, ju don't bring it. I want one café. Waiter: Oh, now I understand. You want to buy a café. José: Jeess Waiter: The business isn't for sale. José: No sail, no sail, I get seasick. Only café. Waiter: Don't you be throwing up in here. I canny stand vomit. José: I juss wanna drink - - Waiter: What do yer want then, tea, coffee, milkshake? José: Milk shake? No, don't a shake a the milk. Who dew think I am? Jem-mes Bond. I want a café stir-red not, what you say, a shay-ked. Ok, I know, I hava one espresso. Okay? Waiter: One espresso? After all that, all you want is a wee thimble full of coffee? For the love of... Waiter goes, makes an espresso, brings it back to the table, puts it in front of José. Waiter: Don't be too long drinking it. We're closing. José: Ahh, you clos -it? Waiter: Me? Closet? José: Jeess, you clos -it? Waiter: Darling, the last thing I am is clos-et. This is Soho, I came out years ago. Waiter goes to the door and turns the sign to closed. Waiter: Okay, how about a wee dram before I show you were the underneath is.

Writing Challenge SCENE #8 INT. – DINER – NIGHT OFFICER DINO VINCELLI (46), is having a coffee and cinnamon roll for his evening snack. Suddenly a frantic WOMAN (27) bursts in the diner. Her clothes have blood on them. She has bruises on her face and her nose is bleeding. WOMAN: Hop! Hop! Officer Dino jumps up and tries calming the woman down. DINO: It’s okay, miss…calm down and tell me what happened. She doesn’t calm down much but tries to explain in her limited English. WOMAN: I…huff…crush! DINO: Crush? You got crushed? WOMAN: No! No! Cresh! Dino scratches his head and looks around the diner. There are just a few people besides them. DINO: Anybody have any idea what this lady is trying to tell me? He just gets blank stares. DINO: Figures. The woman looks outside as if she’s scared to death. WOMAN: You hop! Por favor! DINO: Sorry, lady, I don’t speaky de Spanish. The girl doesn’t respond. The diner’s COOK (57), talks to him from behind the counter. COOK: I don’t think she understands, Officer Vincelli. DINO: Thanks for that invaluable insight. The woman starts acting out what she’s trying to say. She puts her hands up like they are on a steering wheel. WOMAN: Vrooom…Vrooom! EEEEEkkkkk! Crush! A light goes off in Dino’s head. DINO: Crash?! You had a car crash?! The woman smiles and gets excited. WOMAN: Si! Si! Cur Crush! DINO: Close enough. I’ll call for an ambulance and tell them you’ve had an accident. The woman grabs his arm to get his attention again. WOMAN: No! No ax…ken…don’t! DINO: It wasn’t an accident? WOMAN: NO! Loco mun! Trick…drover! COOK: I think she means crazy man, truck driver, Offic— DINO: Yeah, I got that one. Thanks. WOMAN: Loco trick drover muck cur crush! DINO: So a crazy truck driver made you crash your car? WOMAN: SI! SI! DINO: Can you describe him? WOMAN: Descrub? Dino points to his own face and makes a twirling motion. DINO: Describe. What he looks like. WOMAN: AHH…Si! Si! Luck like Elvis. DINO: Did you say he looks like, Elvis? Just then the door to the diner opens and a MAN with black hair, sideburns and lots of jewelry on walks in. He’s carrying a machete in one hand and sawed off shot gun in the other. He fires his gun and shoots Dino who flies back several feet before hitting the wall then slumps to the floor. The man looks at the now hysterical woman. He speaks and sounds like Elvis. MAN: Hey, baby. What’d you go runnin’ off for? The fun was just startin’! Fade out

FEEDBACK 10 Hey Msc, Alright, alright, not bad. So, I know giving “feedback” is pretty broad, but since we’re focusing on dialogue, more specifically how a foreigner might talk, I’ll just talk about that. The broken english parts are good. Some of them seem like he understands more that what he lets on though...I’m not sure if that was on purpose (if it was, you rock!). For example, He says, “No. ID. Yes?” which means to mean that he said no to the medical card...but then he goes on to look confused. Perhaps instead he would say “Yes, ID.” and point to the card he already gave to the surfer, as if saying, yes I already gave it to you. Then it would make more sense if he stared at him blankly. I’m hoping that makes sense...and I’m hoping that’s helpful. Like I said, the broken english parts are actually pretty good, I’m just being nitpicky to try to help make it that much better. Another example, depending on how poor this person’s english is, “Sorry my English is...um...no good. I want…” that sounds like he actually kind of proficient. Perhaps even more broken would really sell the fact that he really doesn’t understand the he needs a medical card. Again, if he’s actually faking it then I think you nailed it with the dialogue. Good job!

Feedback #8 Jeff, I liked the overall scene and the characters are vivid. Only suggestion I would make is to have the dialogue between McGinn and the girl last a little longer when he's trying to communicate about the bad guy. Like she thinks he's coming on to her and gets offended or something like that. Just seemed like the interaction between them went too quick and too smooth. Otherwise, great job!

SCENE 8 INT. FRENCH CAFE - PARIS - DAY (A high traffic quaint cafe in the hustle and bustle of Paris. The order counter has a large glass case of food and an arrangement of tables and chairs on the sidewalk for outside patrons) (Enter DAN, age 30. An American actor dressed like a businessman. He is in Paris for a shoot) (Dan walks up to the counter) DAN: Bonjour. Do you speak English? WOMAN: Quoi? Qu'est-ce que tu veux? (What? What do you want?) DAN: Guess not...um...that (Dan points at a croissant in the window) WOMAN: Croissant? DAN: Oui(yes). Yes, and that (Dan points to the coffee beans in the grinder) WOMAN: Cafe?(coffee?). Quelle taille? (What size?) (He doesn't understand so he just awkwardly shakes his head. Dan looks down to open his jacket. He takes out his wallet and a gun glints from under the jacket. The woman at the counter notices. Her face now mortified) DAN: How much...uh...money? (Dan closes his jacket, looks up, and sees her face. He holds up some euros confused. He raises the bills in his fist) DAN: How much? How many euros? WOMAN: EUROS?! DAN: OUI(yes), EUROS! (The woman runs to the cash register and returns. Tears steam from her eyes. She hands him a giant stack of bills. Dan raises his voice) WOMAN: Ce est tout l'argent que nous avons! Prendre! (This is all the money we have. Take it.) DAN: (confused) No! I pay...how much... (Dan opens his jacket to reenact the motion of taking his wallet out to pay money, hoping that would help her understand. His hand hits the gun. The gun hits the floor. Now he gets it) (We hear a scream. A patron runs out the door. Then more screaming and more running out the door. Soon the whole sidewalk clears. The server drops to the ground to hide behind the counter) DAN: No! I'm just an actor! This is just a prop. Not real. Damn it, even in real life people think acting is real. Look, it's not metal. It's fake! (Dan hits the gun on the counter to prove it, but accidentally drops the gun behind the counter. The woman picks up the gun and inspects it) WOMAN: QUOI! Etes-vous sérieux? Stupide Américain! SORTEZ!(Are you serious? Stupid American! Get out!) DAN: Okay I get it. (Dan walks away without breakfast)

Liz. So, let me get this straight. Before my posh English was too American (Day 6). Now my Scottish is too English? There is just no pleasing you with my accents. In any case, I acquiesce to your knowledge as you are British and I am... well... not. I do have to say, I re-read the whole scene out loud using a posh English accent and it did noticeably improve (although my Etonian leaves a lot to be desired but at least it is a lot better than my Sean-Conneranian). However, I do do a spot-on Mexican. I'll grant you the "only" and the "young". The latter was quite borderline, I agree, but in my defense Pedro looks a lot older than he really is. However, I draw the line on my long speech. This is no ordinary Bond. This iteration of the famous character is the ultimate gentleman spy and as such he is always on his best behaviour. The fact that he never left the Sonora desert is a completely different matter (he never should have said "young daughter"). In any case, thank you for your honest feedback. That's how you really learn.

Feedback 10 Liz Correal doing a Mexican/Latin accent (said he with a Mexican/Latin accent). This is going to be fun! (It's payback time as for once I have the upper hand. You see... I am Mexican.) I read your scene... and found it hilarious! The coffee/café confusion is spot on and the closet dialogue at the end cracked me up. I felt, however, that the scene jumped too quickly from a man lost in Soho looking for the underground to him actually asking for a coffee. It felt a bit rushed, especially since he never actually got directions. As for the Spanish, well just a couple of tidbits. - I would put more emphasis on the confusion of the word underneath. For example, "JOSE: I need the under... neath? Jes, the underneath". Something like that. - "Como se lo dice" is a typical grammatical error of non-Spanish speakers. The correct phrase is "Como se dice" (This is me being anal.) - At times you switch from a Mexican accent to an Italian one. For example, "don't a shake a the milk" or "I hava one espresso". That is-a broken italian. Maybe changing "shake" for "chake" would make it sound more Mexican. Anyway, nitpicking aside, I enjoyed your scene a lot. And your Scottish was spot on! :)

There's just no pleasing some women, is there?

Mr Mejicano... shouldn't jump to conclusions. Even though I speak it well, I'm useless at writing it (as you may have noticed) I wasn't aiming for a mexican or even latin-american accent, but more spanish/canarian which is different. Canarians find it almost impossible to say an english word starting with an s without sticking an a in front of it. Though I did wonder if the cafe/coffee thing would go over most peoples heads, I'm glad you understood it. Had to cut the scene short or it would have gone on for pages... it came to life on its own and was trying to turn into a John Cleese/Fawlty Towers episode where he smashed the tables to bits and set them on fire. But, hey-ho. Thanks for the feedback. It made me smile. And I've forgiven you about the daughter thing - sorry for being so sensitive.

FEEDBACK 3 This was a fun scene and I think you did a great job with the exercise. If you wanted to push this particular scene, I'd suggest making it more clear who your main character is. The only person you gave a name was Sebastian, which would imply he's the main character, but then you stay with Surfer Guy at the end. If you had made that aspect more clear, it would open up possibilities of subtext, wants, conflict (other than language barrier), etc.

FEEDBACK 4 I liked this a lot! First off, "only to see" is absolutely correct in this context. It is an idiom that implies surprise so don't think that "Englishism" is wrong. The idiom implies that there's something else Pedro expected to see when he looked up -- He expected to look up at a bird only to find a man parachuting in a tuxedo. Since nitpicky criticism does no one any good, forget about the word or accent specifics -- those are surface level notes and relatively easy to change. As a scene (without the context of the Bond movies), this one is really good and accomplishes what you set out to accomplish -- you gave your main character a goal (contact help), you gave him obstacles (first the language barrier, then the bartering) and then you moved us on to the next place where things can continue to go wrong. And on top of that it was funny. Now that being said, I suppose you have to think about whether or not you were going for that, but I'm assuming you were. This didn't seem accidentally comedic. The long-winded speech would have been tedious and on the nose had Pedro responded with an equally on the nose response, but having Bond go through all the trouble and then the person he's speaking to not understand a word of it made me laugh. So while this may not be the iteration of Bond Daniel Craig or whoever's next plays, I don't think that's what you were going for in the first place. This could be a very tongue in cheek scene in a somewhat serious spy movie, or it could also fit great in a farcical version of a spy film. My only real note is what do you want to accomplish with it? If you want to write a true Bond film, I might tone down the comedy some. But if you think you might repurpose the scene for another film, it's great as it is.

Tillery This is meant to be a comedy scene. The use of Bond was just to get a famous name out there, but not intended for a Bond film. As you say, this would be more befitting for a farcical spy like Rowan Atkinson in Johnny English for example. I just found funny to think of an extremely British character gesticulating like crazy trying to make himself understood. Thanks for feedback.

Brian, That was a good twist. Don't know if the accent was authentic or not, but hey, what do I know. I liked how it distracted us from the real drama that was coming.

Yeah I assumed that and that's what I was saying. As a comedy scene it's great. My notes were mostly making sure you realized the slightly critical attack of another commenter was unwarranted as they clearly misinterpreted what you were going for. I thought you did a great job and made me laugh so keep up the good work.

SCENE 6 -- (this is definitely a sketch and not a scene... also, I took some liberties with the meaning of doesn't speak English very well) Ext. Bed and Breakfast - Night John knocks on the door to the small house that's been repurposed as a bed and breakfast. He gets no response. He can't see inside. John -- Hello? A voice calls back through the door. Voice -- Hello? John -- I'm looking for a room for the night. Voice -- A room for the night. John -- Yes, that's what I said. Voice -- Yes, that's what I said. John -- If you don't have a room, that's fine, just let me know. Voice -- Just let me know. John -- Let you know what? Voice -- Let you know what? John -- That's what I'm asking you. Voice -- That's what I'm asking you. John -- I was saying let me know whether or not there's room. Voice -- There's room. John -- Oh great. Can you open the door? Voice -- Can you open the door? John -- That's what I was asking you. Voice -- That's what I was asking you. John -- I obviously can't open the door. It's locked. Voice -- The door. It's locked. John -- You're pulling my chain, aren't you? Voice -- You're pulling my chain, aren't you? John -- Haha, very funny. You're just repeating what I'm saying. Voice -- You're just repeating what I'm saying. John -- I'm not repeating what you're saying! I'm saying it first. Voice -- I'm saying it first. John -- I don't know what you're playing at, buddy, but I'm leaving. Voice -- I'm leaving. John -- Where are you going?! You're the one who's inside. Voice -- You're the one who's inside. John -- OK, asshole, you win. Voice -- OK, asshole, you win. John -- Wait does that mean you're letting me in? Voice -- Does that mean you're letting me in? John -- Oh FUCK OFF! John storms down the steps to his car. We hold on the door. Voice -- Oh fuck off. Beat. Voice -- Oh fuck off. Man's Voice -- Shut up! Voice -- Shut up! Man's Voice -- No you shut up, Polly, or I'll cook you. Voice -- You shut up, Polly, or I'll cook you. Man's Voice -- That's it, you're done! Voice -- That's it, you're-- [SQAWK]

Feedback 5 Fun scene, although I'd hoped there would be more conflict with the language barrier. It would have added more comedy to the situation and there is a good opportunity for subtext here. The broken English is a good touch. Good job.

FEEDBACK 8: Evan S., I like the setting and ambiance of the scene. I’m not sure if the gun prop people would let Dan walk around with a fake gun off the set. They have strict rules about that. When Dan tries to explain that the gun is fake, a toy, he seems angry/resentful toward the people that are truly scared of the gun and him. They don’t know he’s an actor. Maybe he should be more understanding? Alternative take: What if when the woman is initially alarmed by the gun, a patron thinks she is in danger and jumps Dan to protect others from this “robber” or possible “terrorist?”

SCENE 9: RYAN, 33, a blonde American tourist traveling through China walks around town looking for something. His right hand is wrapped in a bloody cloth. RYAN: Excuse me, can you help— People avoid him. Walk around him. RYAN: Is there a hospital nearby? A doctor? Doc-Tor? The locals are deep in their thoughts and focused on getting to their destinations. Ryan spots a noodle counter shop. RYAN: Can you help me? I’m lost. I hurt my hand. I’m American. Did you see a tour group? Did you see other people like me? NOODLE SHOP OWNER (shakes head): No, no, no. RYAN: No, you can’t help? No, you didn’t see my group? Anyone here speak a little English? Customers keep their heads down to their food and do not reply. The Noodle Shop Owner shoos Ryan’s bloody hand off the counter. NOODLE SHOP OWNER: Go, go, go. He points to a direction down the street. RYAN: Go there? I get help there? Noodle Shop Owner nods his head. Ryan walks to the area that the shop owner vaguely pointed. A WOMAN with a BABY walks by. RYAN: Please, ma’am? I need a doctor. For my hand. Doctor? Nurse? The startled Woman clutches her baby close to her. RYAN: Hurt bad. Need help. Hospital. Clinic? Where? The Woman looks at Ryan’s injured hand and nods. Ryan follows her. RYAN: Thank you so much. I appreciate it. No one wants to help. I don’t understand. I guess I should have studied more about the cultural customs. Ryan follows the Woman as they walk down various streets. RYAN: I must have scared the locals. Didn’t mean to offend. The baby starts to cry. RYAN: Hey little guy. It’s okay. Don’t be scared. The Woman stops in a narrow alleyway to comfort her child who is WAILING now. RYAN: Are we close? The Woman hands the baby to Ryan who awkwardly accepts. She knocks on a door. RYAN(to the crying baby): Hi there. It’s gonna be all right. Your momma’s busy right now. She’ll be back. The door opens. A MAN looks at her and Ryan who nods back. The man lets the Woman in then shuts the door. RYAN: Hey! What’s going on? Ryan knocks on the door with his foot. RYAN: Hello? I can’t hold your baby forever. The baby finally stops crying. Ryan looks at him. The baby glares at Ryan with dark black eyes. Razor sharp baby teeth bared. The baby lunges at Ryan’s neck. Ryan’s screams are drowned out by the sirens of a local ambulance.